Animation Festivals History by Bruno Edera Musings of Annecy's Jean
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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
Here Comes Television
September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business. -
Digital Surrealism: Visualizing Walt Disney Animation Studios
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns. -
Bruno Bozzetto
26/5/2015 www.unibg.it/static_content/presentazioneateneo/lhbozzetto.htm#conferimento Bruno Bozzetto laurea specialistica honoris causa in Teoria, tecniche e gestione delle arti e dello spettacolo a.a. 2006/2007 lectio magistralis conferimento elogio Bruno Bozzetto Lectio Magistralis Magnifico Rettore, Professori, Autorità, amici e studenti, non credo d'essere molto originale dicendo di sentirmi emozionato, e questo non solo per il grande onore che oggi mi viene reso, ma perché il mio mezzo di comunicazione sono sempre stati i disegni, e ora devo invece usare le parole... Un mezzo che, nel mio caso personale, non esiterei a definire decisamente "improprio". Proprio per questo, ben conoscendo i miei limiti, ho deciso di scrivere le mie parole e di farmi sostenere con la proiezione di qualche film. Prima di iniziare desidero però ringraziare sentitamente il Magnifico Rettore, professor Alberto Castoldi, e tutti coloro che mi hanno proposto per questa onorificenza, che rappresenta per me, per la mia professione e per tutti i collaboratori uno dei momenti più gratificanti. Desidero innanzitutto cogliere questa bella opportunità per ricordare pubblicamente la figura di mio padre Umberto, una persona straordinaria, senza il cui aiuto morale e finanziario non avrei mai potuto intraprendere questa attività. Nella vita la fortuna gioca sempre un ruolo fondamentale, e probabilmente tutti noi, se non ci fossimo trovati nel luogo giusto al momento giusto, avremmo scelto altre carriere ed altre direzioni. La mia grande fortuna è stata quella di nascere in una splendida famiglia com'era la mia, con un padre eccezionale, creativo, dinamico e soprattutto lungimirante, che ha sempre rappresentato per me, oggi come allora, una fonte inesauribile d'ispirazione, da cui ho attinto idee, spirito critico e soprattutto il coraggio di intraprendere una carriera così particolare ed a quei tempi così poco promettente. -
P R E S S R E L E A
P R E S S R E L E A S E December 3rd, 2018 TMS Entertainment Partners With Future Today to Launch TMS KIDS! and TMS ANIME on Streaming Platforms Channels Will Be Available Across Multiple Platforms Including Roku, Fire TV and Apple TV, and Will Offer Dynamic Titles for Anime Fans and Kids of All Ages LOS ANGELES, CA -- TMS Entertainment USA, Inc. today announced partnership with Future Today Inc., to bring its hugely popular animated video library to even more global viewers. Available on most major streaming platforms, TMS ANIME and TMS KIDS! will feature TMS Entertainment’s beloved titles such as Bananya, Saint Seiya, The Lost Canvas and ItaKiss on TMS ANIME and Galaxy High, Monster Rancher and Sherlock Hound on TMS KIDS!. More contents such as TMS’ hit series Lupin The 3rd will be added in near future. “We’re very proud and happy to be able to offer TMS KIDS! and TMS ANIME on major streaming devices,” said Yoshiharu Suzuki, President and CEO of TMS Entertainment. “Anime fans and kids of all ages can now enjoy our amazing programs and we look forward to adding even more titles in the future.” About TMS Entertainment Co., Ltd. TMS Entertainment Co., Ltd. (better known as TMS) is one of the world's largest and most distinguished animation studios. TMS has won recognition from the international filmmaking industry for its highly-acclaimed animation, pioneering techniques and proud commitment to quality. With a dedicated team of development, production and design executives, TMS' growing reputation is reflected by the versatility, artistry and originality of the programs the company has produced for international markets worldwide. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Ten Years Supporting, Delivering & Promoting the Whole Spectrum of Animation
TEN YEARS SUPPORTING, DELIVERING & PROMOTING THE WHOLE SPECTRUM OF ANIMATION Directors Message Wow – we made it to our 10th anniversary!! Who would have thought it? From very humble beginnings – our first festival in 2004 screened at the now-defunct Rupert Street Cinema in Piccadilly – to LIAF 2013, 10 days at 3 different venues. We have survived - sort of. Over 10 years we’ve received more than 12,000 entries, screened more than 2,500 films, and had some of the most talented animators in the world come and hang out with us. And we’ve had a ball on the way. It’s time to blow our own trumpet. As well as being the largest festival of it’s kind in the UK in terms of films and programmes screened, we have a substantial touring component and we run satellite events all year-round. We’ve screened at festivals, cinemas, theatres and colleges all around the world and in the UK and hopefully we have spread the word that animation is a valid artform that is only limited by the animator’s imagination. In short, our maxim is that in animation anything can happen. Long may this be. There are far too may people to thank here (hopefully you know who you are) but the guidance and immense work-rate of my co-Director Malcolm Turner has to be acknowledged. Way back when in our ground zero - actually in the year 1999 - I still vividly recall that very first meeting Malcolm and I had with our then-colleague Susi Allender in the back garden of our Melbourne flat. -
Info Fair Resources
………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… Info Fair Resources ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… SCHOOL OF VISUAL ARTS 209 East 23 Street, New York, NY 10010-3994 212.592.2100 sva.edu Table of Contents Admissions……………...……………………………………………………………………………………… 1 Transfer FAQ…………………………………………………….…………………………………………….. 2 Alumni Affairs and Development………………………….…………………………………………. 4 Notable Alumni………………………….……………………………………………………………………. 7 Career Development………………………….……………………………………………………………. 24 Disability Resources………………………….…………………………………………………………….. 26 Financial Aid…………………………………………………...………………………….…………………… 30 Financial Aid Resources for International Students……………...…………….…………… 32 International Students Office………………………….………………………………………………. 33 Registrar………………………….………………………………………………………………………………. 34 Residence Life………………………….……………………………………………………………………... 37 Student Accounts………………………….…………………………………………………………………. 41 Student Engagement and Leadership………………………….………………………………….. 43 Student Health and Counseling………………………….……………………………………………. 46 SVA Campus Store Coupon……………….……………….…………………………………………….. 48 Undergraduate Admissions 342 East 24th Street, 1st Floor, New York, NY 10010 Tel: 212.592.2100 Email: [email protected] Admissions What We Do SVA Admissions guides prospective students along their path to SVA. Reach out -
Leeds Student Leeds Student N?] EDM EP I News I DEM 32-Year-Old Flu Virus Holds Leeds in Its Grip Gunned Down in the Heart of a Student Area Page 7
LeedsFriday, October 17, 2003 Student Student Newspaper of the Year Volume 34: Issue No. 4 Justin Rio-1y silly time move Intergalactic chartrockers The FA must Darkness shed crack down some light on on Ferdinand their meteoric rise says Leeds to plank-spanking Doctor megastardom News page 5 Juice pages 12g13 Aide to senior Tory denies allegations of punching a gay policy advisor DIDN'T HIT Conservative MP for Cambridgeshire North East and a Karl Mansfield Tory frontbench spokesman on arts and tourism. Mr Eaton, 27, a Colchester councillor, was an assis- tant in the private office of Bernard Jenkin, the Shadow THE Leeds Postgraduate arrested in connection with Defence Secretary and one of lain Duncan Smith's clos- an alleged homophobic assault on a gay policy advisor est allies. He has ambitions to become an MP. outside a Westminster bar has protested his inno- Mr Moss said: "Charles Ranson is completely inno- cence. cent of these allegations and hopefully this will come out In his first full statement to the press. Charles Ran.son when he answers bail. said today that he fully denied claims he punched British "This is the last thing that he wants as he's interested Property Federation lobbyist Chris Carter. in politics." Mr Carter was attacked just yards from the Houses of Any court case could undermine the party's efforts to Parliament and the Conservative Party headquarters. shed its reputation for prejudice and present a more car- Mr Ranson. 22, said: "I totally refute all allegations ing face. made against me. I am innocent. -
Different Drummers
Special Issue: Different Drummers March/April 2013 Volume LXXXIX Number 2 ® Features Barbara Bader 21 Z Is for Elastic: The Amazing Stretch of Paul Zelinsky A look at the versatile artist’s career. Roger Sutton 30 Jack (and Jill) Be Nimble: An Interview with Mary Cash and Jason Low Independent publishers stay flexible and look to the future. Eugene Yelchin 41 The Price of Truth Reading books in a police state. Elizabeth Burns 47 Reading: It’s More Than Meets the Eye Making books accessible to print-disabled children. Columns Editorial Roger Sutton 7 See, It’s Not Just Me In which we celebrate the nonconforming among us. The Writer’s Page Polly Horvath and Jack Gantos 11 Two Writers Look at Weird Are they weird? What is weird, anyway? And will Jack ever reply to Polly? Different Drums What’s the strangest children’s book you’ve ever enjoyed? Elizabeth Bird 18 Seven Little Ones Instead Luann Toth 20 Word Girl Deborah Stevenson 29 Horrible and Beautiful Kristin Cashore 39 Embracing the Strange Susan Marston 46 New and Strange, Once Elizabeth Law 58 How Can a Fire Be Naughty? Christine Taylor-Butler 71 Something Wicked Mitali Perkins 72 Border Crossing Vaunda Micheaux Nelson 79 Wiggiling Sight Reading Leonard S. Marcus 54 Wit’s End: The Art of Tomi Ungerer A “willfully perverse and subversive individualist.” (continued on next page) March/April 2013 ® Columns (continued) Field Notes Elizabeth Bluemle 59 When Pigs Fly: The Improbable Dream of Bookselling in a Digital Age How one indie children’s bookstore stays SWIM HIGH ACROSS T H E SKY afloat. -
Tidligere Vindere 1975-2012
I dette dokument kan du finde tidligere vindere af Odense Internationale Film Festival. Derudover kan du se, hvem der var jury det pågældende år samt læse en kort beskrivelse af de enkelte festivaler. Følg hyperlinksene herunder for at komme frem til det ønskede år: 1975, 1977, 1979, 1981, 1983, 1985, 1987, 1989, 1991, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012 Hvis du har spørgsmål, er du altid velkommen til at kontakte os på telefon 6551 2837 eller på mail [email protected] 1975, 27. juli – 4. august I 1975 afholdes festivalen for første gang under navnet Den Internationale Eventyrfestival. Festivalen kunne præsentere 58 udvalgte film fra 20 forskellige lande. Filmene blev vist i Palace Biografen. Juryen bestod af: - Jan Lenica, Polen - Thorbjørn Egner, Norge - Georg Poulsen, Danmark - Niels Oxenvad, Danmark - Ebbe Larsen, Danmark 1.pris - Guldpris THE THREE COMPANIONS af Jan Karpas, Tjekkoslovakiet THE LEGEND OF POUL BUNYAN af Sam Weiss, USA 2.pris - Sølvpris THE LITTLE MATCH GIRL af Kazuhiko Watanabe, Japan Vinderfilm THE FROG PRINCE af Jim Henson, USA THE SHADOW af Jørgen Vestergaard, Danmark THE SWINEHERD af Gene Deitch, Danmark ARROW TO THE SUN af Gerald McDermott, USA BLACK OR WHITE af Waclaw Wajser, Polen Personlige priser Thorbjørn Egner: THE BAG OF APPLES af Vladimir Bordzilovskij, U.S.S.R. Speciel Jurypris: THE SERIES OF CARTOONS af Raoul Servais, Belgien 1977, 31. juli - 7. august Den 2. Internationale Eventyrfestival bød på 68 film fra 18 forskellige lande. Filmene blev vist i Palads Teatret, Bio Centret, Folketeatret Grand og Bio Vollsmose. -
The Illustration Game: Quotes & Notes
Rhode Island School of Design DigitalCommons@RISD Faculty & Librarian Work RISD Faculty & Librarians 1-1-2019 The Illustration Game: Quotes & Notes Jaleen Grove Rhode Island School of Design, [email protected] Illustration Department Rhode Island School of Design, [email protected] Follow this and additional works at: https://digitalcommons.risd.edu/faculty_work Part of the Illustration Commons Recommended Citation Grove, Jaleen and Department, Illustration, "The Illustration Game: Quotes & Notes" (2019). Faculty & Librarian Work. 4. https://digitalcommons.risd.edu/faculty_work/4 This Book is brought to you for free and open access by the RISD Faculty & Librarians at DigitalCommons@RISD. It has been accepted for inclusion in Faculty & Librarian Work by an authorized administrator of DigitalCommons@RISD. For more information, please contact [email protected]. The Illustration Game: Quotes and Notes Jaleen Grove The Illustration Game, published in Communication Arts magazine, is an artwork that critically evaluates and satirizes the illustration industry 1959-2019. It conceives of the time period in the form of a board game in which players roll a die to advance along a path, accumulating points or losing them according to typical events of each decade. The path winds through a forest of quotations that were said in print at the time or shortly after by leading illustrators and critics. For the quotations to read properly and succinctly, wording was very slightly modified in some cases. The sources and the quotes without modification are given here for those who wish to see context and origin. This document only discusses the quotations that appear in the black background.